Oh baby. Coriolanus at the Stratford Festival was a lot.
Romeo and Juliet is the most adapted work in Shakespeare’s canon and continues to be replicated through different mediums time and time again. And for a girl who lives for crazy adaptations of Shakespeare, I was completely and utterly in love with Stratford’s simple, “traditional,” and tragic Romeo and Juliet. Just when you think I’m gonna zig, I’m gonna zag.
It was a beautiful production directed by Scott Wentworth that was clear and emotionally moving and felt incredibly fresh. I put quotations around traditional because, despite its period appearance, the show had a buoyancy and a spirit that lived within the same realm as productions that adapt the show somehow, which made it feel modern. They even threw in some non-Shakespeare lines! The show gave the lead characters (played by Sara Farb and Antoine Yared) and the impact of their deaths respect rather than treating them as silly romantic children. Except when they were acting like children.
In 2017, I have seen four productions of Twelfth Night. And Twelfth Night began as one of my least favourite plays.
The first show I saw was Shakespeare Bash’d’s production at the Monarch Tavern. Then in April I saw the Public Theater’s mobile unit production in New York. Then in June I went to Stratford, ON and saw their production of Twelfth Night. Finally, last night I saw Shakespeare in High Park’s version. Phew.
What I have discovered at the end of my Twelfth Night journey is that I really like some stuff about Twelfth Night. But I’m going to say right away that I am super biased about what I think classifies as a “good” Twelfth Night. So what I am going to do is go through each of the four Twelfth Night productions and think about what I found interesting about each and how I ended up as a girl who sorta likes Twelfth Night (maybe?).
As young Mamillius asks his mother to tell him a story, he says that “a sad tale’s best for winter,” but Groundling Theatre Company’s The Winter’s Tale moves through every mood of the play with elegance and thoughtfulness. But within each moment creeps the menacing and destructive power of patriarchy. In the dark Winter Garden Theatre, I sat onstage amidst the other audience members examining the small set and starring into the dark abyss of empty seats in front of us. The show began with the house in the dark and the pseudo-theatre-in-the-round style staging took place onstage creating an intimate environment. Graham Abbey situates the audience within the story by placing us underneath the proscenium arch.
Pericles, Prince of Tyre is not a Shakespearean play that is staged often. It is incredibly complicated with fast location changes and the story passes through decades. It also includes a mixture of plotlines found within other Shakespeare stories such as pirates, reuniting families, bringing back someone thought to be dead … It’s a big melting pot of different plotlines. The complexity of the plot is what makes it a big task to make sense of.
Scott Wentworth was the director for this production titled The Adventures of Pericles. I have seen him act in many plays years over the years from Banquo to Shylock but this was my first time seeing a show he has directed so I was excited. I think the strongest element throughout the show was the double (triple?) casting of Antiochus’ daughter, Thaisa, and Marina. They are all played by the ever charming Deborah Hay who travels through these women’s stories to teach us about their individual strength.
Back in 2015, I missed out on the opportunity to see Stratford’s Taming of the Shrew but on July 31st CBC allowed people like me to see the filmed version. It is a part of their initiative to make arts more available to those who may otherwise be unable to see them in person. This version stars married actors Deborah Hay and Ben Carlson and was directed by Chris Abraham. The Stratford show could be seen as two extremes coming together to meet in the middle. Katherine and Petruchio shed their performed behaviours and find truthfulness in their love.
Antoni Cimolino’s Macbeth could be considered a traditional Macbeth by setting it in the 11th century. But this is a production that goes bump in the night and carries with it an air of mystery similar to an old monster movie. The feeling of the show reminds me of Ichabod Crane’s Sleepy Hollow or the village terrorized by Frankenstein’s monster. This is the world of the weird sisters. The forest they inhabit extends over the Festival stage. The forest remains a key focus even when the characters are in Macbeth’s castle, which seems to suggest the witches never truly leave Macbeth’s presence.